As dance is the most extreme example of movement articulation, it will be used as the example discipline throughout this document. Activities requiring precision in movement, particularly dance, require a wide range of general movements including running, jumping, spinning and sliding. The foot and ankle of the dancer will undergo further articulation, including pointing, flexing, turning, twisting, bending and rolling. To enable such a wide range of articulated movement, generally dance footwear is designed to be form fitting and flexible to complement the foot undergoing movement.
Typical footwear consists of two primary elements, an upper and a sole structure. The upper provides a covering for the foot that securely receives and positions the foot with respect to the sole structure. The sole structure is secured to a lower portion of the upper and is generally positioned between the foot and the ground. In addition to reducing friction from the ground, the sole structure, in conjunction with the upper, ideally should provide support and comfort for the bottom of the foot and the arch.
A dance shoe is designed to complement a dancer's wide range of movement and is therefore typically made up of lightweight, flexible materials. As the design is focused on the upper and sole structures being extremely flexible, these structures provide little support for the foot. The shoes permit the user to easily flex the ankle and arch region of the foot but to the detriment of ankle and arch support.
Further to this, a shoe that is allowed to bend and flex will have a side effect of creasing, bunching, puckering and sagging of the upper and outsole materials, creating an unwanted distraction from the clean lines ideally sought. Dance is a strict and regimented art form, any visual distraction from the ideal aesthetic framework will have an adverse effect on the dancers performance in general. In addition, the creasing, bunching, puckering and sagging caused by a flexible shoe can cause a dancer to feel ungainly and unsupported, further affecting their performance.
Some shoes that are flexible have been designed to assist in the flexing of the ankle and arch, reducing resistance when pointing the foot. While this provides ease of movement, it is not ideal when placed in the context of the dancer in training with regards to strengthening, protecting and maintaining their bodies against the rigours of physical activity. Dance is an extremely physical pursuit, with injury levels in line with high level athletes. Subsequently a regimented, disciplined training regime is necessary not only to achieve a high level of ability, but also to keep the body at a peak needed to prevent or minimise injury. The earlier this training begins the more likely the levels of success both artistically and physically. It is not uncommon for dancers to begin their training as young as 3 years old, and beginners older than 10 years are uncommon. Young dancers are taught from an early age to physically strengthen their bodies with exercises covering each and every muscle in the human body, including the feet. To build muscle strength the body needs resistance, so while it is important to encourage flexibility, it is also important to impose levels of resistance to the muscles. During dance training, it is estimated that a dancer might point and flex the foot as many times as once per second and on average once every 5 seconds. When placed in the context of a full dance class, or even a complete dance career spanning many years, the addition of a subtle controlled resistance to each foot flexion motion by way of dance footwear can have a significant longer term effect on muscle strength and stability.
In view of the above, there remains a need for a dance shoe that provides a balance between flexibility and controlled resistance, as well as a shoe that provides a clean unbroken cosmetic line that compliments and enhances a dancer's level of artistry, or that at least provides a useful alternative to prior dance shoes.